The album was recorded during 1977/8 and work began soon after the release of the first album.
When presented to our record company Warner Brother records, they were not interested in musicians who could play or wanted to experiment, The only music they wanted was punk and Absolute Elsewhere was not.
The MD who signed us (Derek Taylor) had also left and the record company was now being run by a lawyer, so that didn't help.
How did Erich von Däniken's theories influence that first Concept album. Were there any hidden references related to Erich von Däniken's work in the lyrics or instrumentation?
I had read his books and used them to influence the music I was writing. It was the publisher of the books that first got me involved, Ernest Hecht.The project developed from some initial ideas and included some electronic music I written while studying composition at the Guildhall School of Music.The first album is instrumental so there are no lyrics or songs. By the time we recorded Playgound, vocals became fundamental to the music we were writing.
What musical elements did you intentionally carry over from "In Search of Ancient Gods" into "Playground"?
Both albums were made with Phil Saatchi & Jon Astrop. We worked with Bill Bruford on the first album and were in absolute awe of him. At the time he was the best drummer we'd ever played with. Bill was a hard act to follow until through a mutual friend we met Andrew McCulloch . He played with King Crimson before Bill and appeared on the album Lizard. Although as musicians they were very different, both were capable of enormous power. Jon, Phil and myself had been friends since we were children and began playing music together so already had a deep connection. After making the first album our musical relationship became much stronger and focussed.
"In search of Ancient Gods" was our first venture into the world of recording and a learning experience. By the time we made "Playground", we'd evolved and understood a lot more about the process of producing records but were still very much learning. We'd become more accomplished as musicians and were starting to experiment with different instruments.
Can you share any specific moments or experiences during the recording process of 'Playground'?
The album was recorded at CTS Wembley studios, which was just next to the stadium and whenever there was a big football match it was necessary to lock ourselves inside the studio. The album was technically ground breaking as the studio was the first to install a automated mixing system which was produced by Neve. The system was called Necam and it was equipped with moving faders. Roy Wood who was also working in the studio and us were featured within the BBC TV programme Tomorrows World. As a child I was such a big fan and for them to be interested in the process of how we were recording was totally fantastic. It was beyond a dream that I actually got to appear in the show.
Were there any challenges in capturing the atmospheric and moody vibe while maintaining the prog rock essence?
No not really. We wanted to create an album that pushed the barriers. It was dynamic music with many complicated structures etc. We'd spent a lot of time rehearsing so it just felt very natural by the time we got to the studio. We already knew what were going to play and the arrangements which often were complex.
Tell us about the recording locations for the album. Did you explore any unconventional spaces?
Studio 3 CTS Wembley was in many ways cutting edge. Everything was recorded there but some mixes were completed in Bayswater at a studio called Marcus Music. At the time Marvin Gaye was also recording there. It was amazing to see him as he was such an icon but also bizarre as around this time he often wore a dress to work and could be seen walking along Queensway.
How did you approach the composition of tracks?
The opening track Relax came from an idea that had been in my head for many years. I use to sing it to myself when walking but didn't know that it was 6/8 or the notes or chords. We wanted "Playground" to be a collaboration. We were learning to write epic sounding melodies and create intricate arrangements.
Did ambient sounds play any role in creating the overall experience of 'Playground'?
The music on Playground is dynamic and the longer pieces are musical journeys such as tales of childhood. So setting the mood was an important ingredient involved some sound design to create sound effects etc.
Were there any specific instruments or effects that you experimented with to achieve the desired sonic palette?
Everything. We were learning so much about recording and attempting to use a broad palette of sound. The studio is an instrument that all the other instruments connect to. Most of the synths were from my ARP 2600 and which I still own.
Can you or the rest of the band recount any interesting anecdotes during the production of the album?
We were fortunate to have worked with recording engineer Richard Goldblatt who among many others things was involved with ELO's second album. Keen to experiment try different ways of recording with the latest equipment but among his most notable contributions to Playground was the playing of a fire extinguisher featured on the last section of "Tides"
How do you see 'Playground' fitting within the broader prog rock landscape of the time?
We were very much influenced by our piers which included the legendary Gentle Giant but also Camel, Genesis Caravan and of course KC.
What message or feeling do you hope prog fans take away from 'Playground' today?
Although we made it many years ago but in many ways it does not seem to date. Every good idea has it's time!
You are a renowned Composer for Tv and film and much more: Are there any plans for future concept albums or musical scores inspired by unconventional theories or ideas?
No but you never know.
Listen to the album on Spotify below, or click here to but on Apple Music.